John J. Audubon, Pl. 332 Pied Duck, The Birds of America, Havell edition, 1827–38, Hand-colored engraving
Acquire a superb print by John J. Audubon, Plate 332, Pied Duck, Fuligula labradora, a richly colored hand-colored-engraving from the Havell edition of The Birds of America—available this week only at a special price.
In his entry in the Ornithological Biography, or an Account of the Habits of the Birds of the United States of America, Audubon first mentions that his son, John Woodhouse Audubon, and his companions found nests of this species of duck on the top of tangled fir bushes during their expedition to Labrador in 1833. Audubon further notes that "the Honourable Daniel Webster of Boston sent me a fine pair killed by himself, on the Vineyard Islands, on the coast of Massachusetts, from which I made the drawing of this plate before you. The female has not, I believe, been hitherto figured; yet the one represented is not an old bird."
Currently named Labrador Duck, Camptorhynchus labradorius (Gmelin), at one time this species was a denizen of the North Atlantic seaboard states in America. The last recorded sighting of a live individual was in 1878, in Elmira, NY.
A male (right) and female (left) are depicted on a rocky ledge overlooking the sea and sky, with cliffs in the distance. In perfect condition, hand-colored engraving, double-elephant folio size, 25 x 38 inches.
References: Susanne M. Low, An Index and Guide to Audubon's Birds of America, 1988, page 146.
Audubon explored the American backwoods and wilderness to discover, record, and illustrate its avian life. America’s most revered artist-naturalist was born in Saint-Domingue (present day Haiti), the bastard son of Jean Audubon, a French sea captain. The embarrassing fact of his illegitimate birth was hidden by his family until well after Audubon’s death. To escape a slave rebellion in Saint-Domingue, in 1791 the handsome young boy was brought to his father’s home in Nantes, France, where he was raised and cherished by his father’s childless wife, Anne Moynet. In 1803, to avoid conscription in Napoleon’s army, his father sent him to manage Mill Grove, a farm he owned near Philadelphia.
From childhood, Audubon was fascinated by nature, drawing and studying birds during extended “rambles” in the woods. However, it was not until he was the father of two sons of his own that Audubon fully embraced the life of an artist-naturalist with the support of his devoted wife, Lucy Audubon. In 1820, Audubon left his family in Cincinnati, embarking with a young apprentice, Joseph R. Mason. They crossed the Ohio River to the Mississippi on a flatboat to New Orleans. Mason worked with Audubon from 1820 until 1822, contributing mostly botanical elements to about 55 of Audubon’s paintings. Later in the project, the artists George Lehman, Maria Martin, and his sons Victor Gifford Audubon and John Woodhouse Audubon assisted John James Audubon with botanical backgrounds.
In 1826, he brought his portfolio of primarily watercolor paintings to Great Britain where his work was applauded by the scientific community and admired by the elite classes. There he met the engraver Robert Havell, who was able to undertake engraving Audubon’s great work in the size of life. Together with Havell, J. J. Audubon created the lavish double-elephant-size folio of The Birds of America—completed with the help of family, friends, and other capable assistants.
In Edinburgh, the Scottish engraver W. H. Lizars began to produce the very first plates in 1826. However, after the completion of only ten plates, Lizars’ colorists went on strike. Audubon continued his pursuit in London with Robert Havell, who published The Birds of America from 1827 to 1838. Twelve years in the making, the completed work comprised 435 hand-colored engravings. Havell also retouched Lizars’ original efforts, adding aquatint to the engraving and etching. On those plates, Havell’s name appears alongside that of the Scottish engraver’s.
Audubon sold 186 subscriptions to the complete folio of The Birds of America, each of which commanded the princely sum of $1,000—the cost of a substantial home at that time. Published on sheets measuring 261/2 by 39 inches, called “double elephant” by the printing trade, the resultant aquatint engravings depict each subject in its actual size and are among the largest ever made. Still, Audubon often altered the larger birds’ natural postures, creatively composing the figure to fit within the dimensions of the sheet.
Of the 186 complete sets produced, more than 100 are intact in library and museum collections worldwide. Since first produced by Havell over 175 years ago, few of the sets have been broken to make individual prints available for sale. Joel Oppenheimer, Inc. specializes in these rare, original engravings, maintaining an extensive inventory, many in exceptionally fine condition.
further information or to purchase, please call the gallery at 312-642-5300.